| Summary: | Moving the chronology a bit, it is possible to trace with these pieces by Miguel Castro Caldas (MCC) a narrative arc of conjugality: the first steps of a couple in the epilogue of The Killers (2011), the marriage proposal in Coal On Canvas (2012), infidelity in the Restoration of Conjugal Society (2010), life with children in Wilderness (2016), again infidelity in If I lived you would die (2016), loneliness (widowhood?) of I don't usually talk to you (2017). Why this interest in the institution of marriage? Perhaps it is precisely because it is such a conventional situation that even subversion (or betrayal) is commonplace: from "boy meets girl" to "happily ever after" or not at all, between getting married and getting tired, this is a tired subject from which all variations have been experienced. [...] Marriage is a narrative formula that MCC uses less to dismantle its ideology than to dispense with the need for a narrative itself-and so use time in another way. MCC's writing practices a certain disrespect for institutions, starting with its own writing.
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